Star Catcher - Remedios Varo
Archival giclée
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Description
A surrealist masterpiece by Remedios Varo, depicting a solitary figure capturing a star within a cage, rendered with meticulous detail and atmospheric light.
Remedios Varo, a Spanish-born artist who spent her most productive years in Mexico, created Star Catcher in 1956. This work displays the technical precision and hermetic symbolism characteristic of her mature period. The central figure, dressed in an elaborate, textured gown that appears to be constructed from organic fibres or feathers, holds a butterfly net aloft. In her other hand, she carries a birdcage containing a captured star, which emits a soft, luminous glow.
The composition is grounded by a stark, chequered floor, which provides a sense of architectural space while contrasting with the ethereal nature of the subject. Varo employs a meticulous glazing technique, building up layers of pigment to achieve the fine, hair-like textures of the figure's costume and the subtle radiance of the captured light. The figure's expression is one of quiet concentration, suggesting a ritualistic or scientific pursuit of the celestial.
Varo often populated her canvases with solitary figures engaged in mysterious, alchemical, or mechanical tasks. Her work draws upon diverse influences, including medieval art, scientific diagrams, and occult philosophy. The Star Catcher reflects her interest in the intersection of the domestic and the cosmic, where mundane objects like cages and nets are repurposed for metaphysical collection. The muted, earthy palette is punctuated by the brilliant white light of the star, drawing the eye directly to the centre of the narrative. This piece remains a primary example of Varo's ability to render the intangible through a rigorous, almost academic approach to painting, creating a world that feels both ancient and entirely invented.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Star Catcher - Remedios Varo
Artist Biography
Remedios Varo
She graduated from the Royal Academy of Fine Arts of San Fernando in 1930, one of the few women in her class. In Barcelona she fell in with the Surrealists and, through them, with the poet Benjamin Peret, who became her partner. When Paris fell, she was jailed on suspicion of espionage. After her release she and Peret boarded one of the last ships allowed to leave France, arriving in Mexico in 1941.
In Mexico City she became inseparable from the English Surrealist Leonora Carrington. Together with the photographer Kati Horna, the three were called the Three Witches. They attended meetings of Gurdjieff and Ouspensky followers, studied alchemy and Jungian dream theory, and put ink in tapioca pearls to serve as caviar at dinner parties for Octavio Paz.
She did not paint prolifically until the last thirteen years of her life, once she was financially stable and free of wartime displacement. The paintings from this period are meticulous: tiny figures in architectural spaces that obey their own physics, conducting experiments with starlight or weaving the fabric of the universe from threads pulled out of the air.
Her posthumous retrospective at the Museum of Modern Art in Mexico City in 1971 drew more visitors than shows by Diego Rivera or David Alfaro Siqueiros. She had died of a heart attack in 1963, at fifty-four, at the peak of her working life.
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